'A Bunch of Riffs': Language, Post-Modernity, and the Politics of Inclusion in Improvised Music.
Jazz improvisation is as dependent on the use of pre-existing riffs as it is on extemporaneous creation. These riffs create, establish, and reference genres, and provide an extra-temporal aspect to the moment of performance. The re-appropriation of these musical fragments transforms their meaning an...
| Publicado en: | Contemporary Music Review Vol. 38; no. 5; pp. 463 - 476 |
|---|---|
| Autor principal: | |
| Formato: | Artículo |
| Publicado: |
Taylor & Francis Ltd
Oct2019
|
| Materias: | |
| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=140465556&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 140465556 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 07494467 7VR jtl: Contemporary Music Review issn: 07494467 maglogo: N pubinfo: dt: Oct2019 vid: 38 iid: 5 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 140465556 10.1080/07494467.2019.1684060 ppf: 463 ppct: 13 formats: fmt: – @attributes: type: T – @attributes: type: P size: 127KB tig: atl: 'A Bunch of Riffs': Language, Post-Modernity, and the Politics of Inclusion in Improvised Music. aug: au: Eisenberg, Wendy su: Language & languages Practical politics Jazz Concord Music improvisation sug: subj: Language & languages Practical politics Jazz Concord Music improvisation keyword: Cyborg Improvisation Postmodernism Repetition Riff ab: Jazz improvisation is as dependent on the use of pre-existing riffs as it is on extemporaneous creation. These riffs create, establish, and reference genres, and provide an extra-temporal aspect to the moment of performance. The re-appropriation of these musical fragments transforms their meaning and purpose in jazz convention. This paper looks toward the work of Anthony Braxton, Cecil Taylor, Sun Ra, Marilyn Crispell, and Charlie Parker in order to clarify how the cultural context of particular riffs influences which improvisational languages are deemed 'legitimate'. It also questions how such 'legitimacy' functions in a genre defined by constant evolution. Using writings from Frederic Jameson, Rosalind Krauss, LeRoi Jones, Donna Haraway, and Jürgen Habermas, I consider the riff as postmodernist tool, a repetitious device that speaks not to the dream of a common language, but the unity or crisis of differing voices. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Contemporary Music Review is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Contemporary Music Review holder: Taylor & Francis Ltd dt: @attributes: year: 2019 holdings: @attributes: islocal: N |
|---|